时代中国企业展馆
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项目名称 Project Name: 时代中国企业展馆 / Times Pavilion

参展机构 Company:三谷设计(广州)有限公司 / Sangu Design(Guangzhou)Co.,Ltd

客户 Client : 时代中国 / Times China

创作年份 Year : 2019

设计师 Designer : 谷腾 / Gu Teng

摄影 Photographer : 谭啸 、谷腾 / Tan Xiao、Gu Teng

 

 

项目创作背景

Project Background

 

作为参与到中国城市化进程当中的企业,时代中国在其成立20周年之际推出了一系列庆典和纪念活动,并重点打造了“时代展馆”。 与其说这是一个展示空间,不如说这是一个企业针对中国发展过程中的空间生成和企业发展历程的时间、价值、社会和历史问题的沉思,是一种自主性的行动梳理,是用空间的组织方式来书写企业史和社会价值观。落实在空间的表达中,就是不断追问和省思“何为展示”、“何为设计”以及“空间和人之间的关系如何进一步往前走”等基本问题。正是因为问题的“基本”,它无法回避;也正是因为问题的“基本”,问题本身及其对它的解答才更深刻,更具有启示性。

 

As an enterprise participating in China’s urbanization process, Times China has launched a series of celebrations and commemorative activities on its 20th anniversary with a focus on building the “Times Pavilion”. Instead of calling it an exhibition space, it is more appropriate to describe the pavilion as the meditation of an enterprise over the time, value, society and history of the space generation and enterprise development in China’s development. It is an autonomous action sorting and writing the enterprise history and social values in the way of spatial organization, which in the expression of space: it is constantly seeking and reflecting the fundamental questions such as “what is exhibition”, “what is design” or “how to push forward the relation between space and people”. It is because of its “fundamental” nature that those questions cannot be avoided; It is precisely because of its “fundamental” nature that those questions and the answers seem more profound and revelatory.

 

谷腾作为这个展馆的总设计师,基于对时代中国的品牌解读,提出了“启示录”的空间概念,并提炼了“空间”、“物质”和“能量”三个关键词,进而对这个空间概念进行设计上的回应。谷腾认为时代中国并不缺一个常规的、标准化的展馆,对于一家低调而富有创新精神的企业集团而言,“展示意味着什么”比“展示什么”更重要,退一步去思考设计和空间的有限性,比彰显设计的无所不能要更为理性和更具人文意义。因为真正有效的展示不是宣导,而是基于感受所生发出来的“共时”与“共情”。

 

As the chief designer of the pavilion, basing on his brand interpretation of Times China, Gu Teng has proposed the space concept of “revelation” and extracted three key words: “space”, “matter” and “energy”, so as a respond to his space concept in design. In Gu Teng’s eyes, a regular and standardized pavilion is not what Times China short of. For a modest and innovative enterprise, “what it shows for” is more important than “what to show”. It is of greater rationality and humanistic significance to step back and think about the limitations of design and space than to merely show the omnipotence of design. Because the really effective presentation is not propaganda, but the synchrony and empathy inspired by sensation.

 

 

项目问题与解决方式

Problem Statement and Project Solution

 

以往的空间设计大多都是静态的,是设想与计划成一种“不变”的结果,这种设计逻辑从古至今几乎没有本质上的变化,只是随着文明和科技的发展,所运用的材料和技术在不断地革新,以塑造与当下匹配的空间效果。 在时代展馆中,谷腾首先打破了空间和陈设品之间的确切关系,让整个空间的墙壁和作为展示功能的屏幕可以灵活折叠,人在其中走动,屏幕随着人的走动而相应移动,人的行动轨迹是空间运动的核心逻辑和主导者,而不是像惯常的展示空间中,空间关系是既定的,人只是被动的观看者、信息接收者、一个被宣导的角色。

 

Most of the previous space designs were static, as an “unchanging” result of imagination and plan. This design logic has hardly changed in nature since the ancient times. However with the progressing of civilization and science and technology, the used materials and technologies have been constantly innovating in order to create a spatial effect that matches the present times. In Times Pavilion, Gu Teng first broke the distinct relation between space and furnishings, that is, to let the walls of the whole space and the display screen be folded flexibly. Walking around the pavilion, the screens move as the people move. People’s moving track is the core logic and the dominance of space motion, different from the usual exhibition space, where the spatial relation is fixed and people are just passive onlookers, information receivers and the roles of being promoted.

 

 

创作过程&结果呈现

Creation Process & Result

 

时代展馆的空间和展示物不断在后退,在折叠,在隐身,处于展示状态的墙体和屏幕,一旦打开,呈现给观众的就是一个沉浸式的叙述空间,但是展示结束后,它就折叠和还原为空间最朴素的状态,那是一个空间最初的样子,没有分割,没有装饰,没有表达,是一个沉寂的、自然暗下来的退隐空间。

 

The Spaces and exhibits of Times Pavilion are moving backward, folding and disappearing. The wall and screen, once activated in display mode, presents the audience with an immersive narrative space. However, when the presentation is over, it folds back and returns to the simplest state, which is also the original state of the space, with no division, decoration or expression, just a quiet and secret space gradually fading out.

 

谷腾推动了设计工作去挣脱服务空间的角色,将重点放在创造和激发这个空间的潜能,让人走进这个空间,改变长久以往的惯性思维和既有体验模式,让人能够从这个沉浸式的叙述空间当中面对自身,面对记忆以及我们要踏入的一个个未知的时空。在空间当中,时代中国不只是一个诉说者,而是借助这个空间媒介,将人带入空间之外,共同步入一段沉思的历程之中。这也从侧面解读了生命的本质,它不只是进行功能的安排,而是置身时空关系中,回归人本主义。

 

Gu Teng made a push to free the design work from the framework of service space and focus on creating and bringing out the potential of the space, thus allowing people to walk into this space and then change their long-fixed impressions of the conventional thinking and the experiencing way of space design, which enables people in this immersive narrative space to face themselves, their memories and the unknown space-time they have to step into. In such space, Times China plays more than a narrator. With the help of the space medium, it brings people out of the space and into a journey of meditation together. This also gives an insight into the nature of life, which is not just about the arrangement of functions, but also about being in the relation of time and space and returning to humanism.

 

 

如何理解项目与“人文湾区∙温暖的设计”这一主题的关联性?

How does the project reflect the exhibition theme "Cultural Bay Area • Humanistic Design"?

 

作为时代中国成立20周年的空间作品,时代展馆不仅为企业构建了一个叙述空间,空间自身也成为一个能量激发的媒介。正如空间宣传片中的舞者与空间的交融,展示出空间的轻盈与漂浮,而当画面切入到废墟,反差时空的作用力,让空间散发出历史与人文的思辨性。 也许对于时代中国而言,这已经不是一个叙说企业自身故事的场所,它成为时代精神集结的媒介,是时代文化当中,清澈而明亮的所在,它甚至可以塑造我们对于一个时代的记忆,对社会使命及生命的思索。

 

As the space work for its 20th anniversary of the founding of Times China, Times Pavilion builds a narrative space for the company, and itself also becomes a medium of energy excitation. Just as the promotional video has interwoven the dancer and the space, presenting the lightness and buoyancy of space, however, when the screen turns into the ruins, the contrasted force of space-time in this space reveals the reflection of historical and humanistic thinking. Perhaps for Times China, this is no longer a place to tell the story of itself. It has become the assembly medium of the spirit of the time and a clear and bright spot in the culture of the time. It can even shape our memories of an era and our thoughts on social missions and life.